MUS 109 Musicianship

Schedule

Fri, 02 Jan 2026 00:00:00 +0000

Lessons

Week 1 (1/13)

Tuesday

Syllabus
Show how to access the course textbook.
How do we evaluate and talk about sound?

Homework

Read Corey Introduction and Chapter 1

Thursday

Corey, Chapter 1: Listening
Quiz 0 – EQ anchors (initial set)
- Frequencies: 500 Hz, 1 kHz, 2 kHz
- Bands: 1
- Gain: +12 dB only
- Q: Fixed (Q ≈ 2)
- Source: Pink noise → one fixed music excerpt

Week 2 (1/20)

Tuesday

Spectral Balance and Equalization

Thursday

Meet in Beadle Hall 006 for Pinnacle Productions visit

Week 3 (1/27)

Tuesday

Quiz 1 postponed to Thursday because of Pinnacle visit last week
- Each week we’ll pick one song to use in our in-class EQ practice or analysis exercises
- Working with the EQ Practice Module
  - Quiz 1 practice - the first real quiz will be on Tuesday
    - 1 octave, 1 band, + 12 dB, pink noise and kick-it.m4a (the “can I kick it” loop), freq 500 to 2000 Hz
  - Practice singing vowel sounds as a class!
  - practice with other music from that Corey list?
Chapter 7 - Analysis of sound

Thursday

Quiz 1 – EQ anchors (initial set)

Frequencies: 500 Hz, 1 kHz, 2 kHz

Bands: 1

Gain: +12 dB only

Q: Fixed (Q ≈ 2)

Source: Pink noise → one fixed music excerpt

Quiz 2 (next Tuesday) practice – EQ anchors, reduced gain
- Practice Type: Matching Memory
- Frequencies: 500 Hz, 1 kHz, 2 kHz
- Bands: 1
- Gain: +6 dB only
- Q: Fixed (Q ≈ 2)
- Source: Same as Quiz 1
Finish - Chapter 7 - Analysis of sound - 20 minutes

Week 4 (2/3)

Tuesday

Quiz 2 – EQ anchors, reduced gain
- Frequencies: 500 Hz, 1 kHz, 2 kHz
- Bands: 1
- Gain: +6 dB only
- Q: Fixed (Q ≈ 2)
- Source: Same as Quiz 1
discuss Sheryl Crow: “Strong Enough”

Two volunteers for next week’s journal presentations. You’ll have about 15 minutes each to talk about your song analysis and answer questions.

More instructions on journals/presentations - instructions

Thursday

Name that tune - 10 minutes
Finish Strong Enough analysis - 20 minutes
Quiz 3 practice – Expanded octave range
- Frequencies: 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz
- Bands: 1
- Gain: +12 dB only
- Q: Fixed (Q ≈ 2)
- Source: Pink noise + same music excerpt

Week 5 (2/10)

Tuesday

Quiz 3 – Expanded octave range

Frequencies: 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz

Bands: 1

Gain: +12 dB only

Q: Fixed (Q ≈ 2)

Source: Pink noise + same music excerpt

Thursday

Name that Tune! / Heardle - 10 minutes
Questions to Guide Listening
- Pick a song and analyze it using the questions in the guided listening document
Peter Gabriel - In your eyes from Corey
Quiz 4 Practice – Boost vs cut
- Frequencies: 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz
- Bands: 1
- Gain: ±12 dB
- Q: Fixed (Q ≈ 2)
- Source: Same as Quiz 3

Week 6 (2/17)

Tuesday

Quiz 4 – Boost vs cut

Frequencies: 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz

Bands: 1

Gain: ±12 dB

Q: Fixed (Q ≈ 2)

Source: Same as Quiz 3

First student journal presentations and discussion
- Shea
- Millie

Thursday

name that tune - 10 min
Volunteers for next week’s journal presentations?
Quiz 5 in class practice – Full octave anchors
- Frequencies: 63 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz, 16 kHz
- Bands: 1
- Gain: +12 dB only
- Q: Fixed (Q ≈ 2)
- Source: Music excerpts only
Moylan: 6 A System for Evaluating Sound - Plotting Sources Against a Timeline
Plotting an instrument’s frequency content over time
- pick a small section and choose a few important instruments
- use band and bandpass filters in Reaper to find the frequency ranges.
- or view spectral peaks and add spectral edits to turn down the gains of small portions of the audio. Use this data to make your graphs more accurate.
- InYourEyesAnalysis.drawio.png
- Follow along with me to make another graph for a different section of In Your Eyes

Week 7 (2/24)

Tuesday

Quiz 5 – Full octave anchors
- Frequencies: 63 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz, 16 kHz
- Bands: 1
- Gain: +12 dB only
- Q: Fixed (Q ≈ 2)
- Source: Music excerpts only
Reminder:
- EBU Tech 3286-1997 Subjective evaluation of quality - Music programme - tech3286.pdf
Student presentations
- Justice, Tavone

Thursday

name that tune - 10 min
Timbre and Spectral Balance
Quiz 6 practice – Third-octave neighbors
- Frequencies: 500 hZ - 2000 hZ
- Bands: 1
- Gain: +12 dB only
- Q: Fixed (Q ≈ 2)
- Source: Pink noise → one music excerpt

Week 8 (3/3)

Tuesday

Presentations?
- Who hasn’t gone yet?

Quiz 6 – Third-octave neighbors

Frequencies: 500 hZ - 2000 hZ

Bands: 1

Gain: +12 dB only

Q: Fixed (Q ≈ 2)

Source: Pink noise → one music excerpt

Thursday

name that tune - 10 min
No quiz or journal next tuesday
- We’ll cover more listening to space and creating diagrams
The Illusion of Space as an Element of Recording

Week 9 (3/10)

Tuesday

Colby, Dylan
Who wants to present next week?
More listening to space and creating diagrams
- Listening Examples

Thursday

heardle - 10 min
Spot the Two Bands — ear warm-up activity (10–15 min)
Quiz 7 practice – Two-band EQ (restricted anchors)
- Frequencies: 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz
- Bands: 2 simultaneous
- Gain: +9 to +12 dB (boosts only)
- Q: Fixed (Q ≈ 2)
- Source: Dense music excerpt (full mix or stem)

Week 10 (3/17)

Spring Break - No Classes

Week 11 (3/24)

Tuesday

Quiz 7 – Two-band EQ (restricted anchors)
- Frequencies: 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz
- Bands: 2 simultaneous
- Gain: +9 to +12 dB (boosts only)
- Q: Fixed (Q ≈ 2)
- Source: Dense music excerpt (full mix or stem)
Holistic Environment presentations
- ?
No quiz next Tuesday

Thursday

Research Week Symposium, no class

Week 12 (3/31)

Tuesday

Student journal presentation 8 and discussion
- Dylan, Shea
Quiz 8 Practice – Compression
- Practice Type: Matching
- Level: 1
- Parameter Combination: 3 Attack, 3 Release, 3 Ratio
- Source: Percussive loop or rhythmic music excerpt

Thursday

The Illusion of Space as an Element of Recording
Quiz 8 Practice – Compression
- Practice Type: Matching
- Level: 1
- Parameter Combination: 3 Attack, 3 Release, 3 Ratio
- Source: Percussive loop or rhythmic music excerpt

Final Paper - DUE Friday, May 1

Final Presentations - April 17, 21, 23, 28

Syllabus

Fri, 25 Jan 2019 00:00:00 +0000

Download

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Projects

Wed, 18 Jul 2018 00:00:00 +0000

Lessons

Final Analysis Paper Instructions

Mon, 01 Jan 0001 00:00:00 +0000

Objective:

In this paper, you will compare and contrast recordings from your listening journal entries, demonstrating your understanding of semester topics by analyzing the recordings and diagramming their similarities and differences. You will also choose an overarching analysis topic that unifies your individual analyses into a cohesive argument.

Instructions:

Choose at least three recordings from your listening journal entries for analysis.
Select an overarching analysis topic that will unify your individual recording analyses. This is an argument about something all your recordings share, contrast, or illustrate. For example:
- The recordings use reverb and space differently, yet each achieves a clear mix in its genre context.
- The recordings span from dense, compressed mixes to open, and more dynamic ones.
- The recordings handle low-frequency energy in distinct ways, reflecting the production conventions of each genre.
Refer to the Analysis of sound presentation for guidance on course topics to address.
Revise and expand upon your original analyses from the listening journal entries, reflecting your current understanding of the subject matter.
Create a minimum of four diagrams to visually illustrate the similarities and differences between the recordings, as well as support your overall argument. Use at least three different diagram types, such as frequency plots, holistic sound stages, and stereo image graphs.
Reference the diagrams within the text of your paper using figure numbers. See the linked guide for instructions on automating figure numbers in Word.
When describing aspects of the recordings, include specific timestamps for clarity.

Requirements:

Word count: Approximately 1,000 words
Diagrams: Include at least four diagrams using at least three different diagram types (frequency plot, holistic sound stage, stereo image graph, loudness graph)
Audio format: Use uncompressed recordings (WAV, FLAC, etc.) for analysis; MP3s are not accepted
Software: Submit Reaper files used for analysis

Submission Deadline: April 27th

Final Analysis Paper Rubric (50 points)

Content and Analysis (23 points)

Depth and accuracy of analysis (8 points)
Effective comparison and contrast of recordings (5 points)
Demonstration of understanding of course topics (5 points)
Selection and effectiveness of overarching analysis topic in tying individual recording analyses together and making a cohesive argument (5 points)

Visual Diagrams (14 points)

Inclusion of at least four diagrams (4 points)
Use of at least three different diagram types (3 points)
Clarity and effectiveness of diagrams in illustrating similarities and differences and supporting the overall argument (7 points)

Organization and Clarity (8 points)

Logical structure and flow of the paper (3 points)
Clear and concise writing (2 points)
Proper grammar, spelling, and punctuation (2 points)
Proper referencing of diagrams using figure numbers (1 point)

Technical Requirements (5 points)

Adherence to word count (approximately 1,000 words) (2 points)
Use of uncompressed audio formats (WAV, FLAC, etc.) (2 points)
Submission of Reaper files used for analysis (1 point)

Total: 50 points

Letter Grade Scale:

A: 45-50 points
B: 40-44 points
C: 35-39 points
D: 30-34 points
F: Below 30 points

Final Presentation Instructions

Mon, 01 Jan 0001 00:00:00 +0000

Objective: Present the material from your final analysis paper in a well-organized and engaging class presentation. This is an opportunity to share your findings, demonstrate your understanding of the course topics, and discuss the overarching analysis topic that unifies your individual recording analyses.

Instructions:

Each student will have a total of 30 minutes allocated for their presentation:
- 20 minutes for the presentation itself
- 10 minutes for questions and comments from the audience
Prepare a well-structured PowerPoint presentation to visually support your key points. Your presentation should include:
- An introduction to your overarching analysis topic and why you chose it
- A brief overview of the recordings you’ve selected for analysis
- Key findings from your analysis, supported by relevant diagrams and illustrations
- A discussion of how each recording relates to your overarching analysis topic
- A conclusion that summarizes your main points
Prepare edited audio clips for the specific points you wish to make, so you’re not searching through full recordings during the presentation.
Practice so you can deliver clearly and within 20 minutes.

Requirements:

PowerPoint presentation with relevant diagrams and illustrations
Edited audio clips to support key points
20-minute presentation, followed by a 10-minute Q&A session

Presentation Dates: Starting on 4/17

Listening and Discussion Guide: Analyzing Sonic Characteristics in a Recording

Mon, 01 Jan 0001 00:00:00 +0000

Based on Appendix B from the EBU Tech 3286-1997 document, this guide provides a structured approach to analyzing the sonic characteristics of a recording.

I. Overall Impressions and Technical Quality

First Impressions: What is your immediate reaction to the recording?

This should be a subjectively weighted average of the other parameters, considering the integrity of the total sound and the interaction between parameters
- Does it feel balanced, immersive, or engaging?
- What is the most striking sonic characteristic?

Freedom from Noise and Distortions:

Are there any unwanted noises (electrical hum, background noise, digital artifacts)?
Are there distortions or unexpected interruptions in the sound?

Bandwidth and Recording Quality:

Does the recording sound full and rich, or does it feel limited in frequency range?
How would you rate the technical quality of the recording overall?

II. Spatial Attributes

Spatial Impression:

How does the recording create a sense of space?
Does it sound dry, reverberant, or somewhere in between?
How large does the recording environment feel?

Stereo Image and Sound Positioning:

Is the soundstage wide or narrow?
Can you clearly locate different sound sources, or do they blend together?
Are there any spatial effects like panning, delay, or reverb that enhance the sense of depth?

Time-Based Effects:

Do you notice echoes, delays, or modulations?
How do these contribute to the perceived space and movement of the sound?

III. Timbre and Spectral Balance

Spectral Balance:

Are any frequencies particularly dominant or lacking?
Does the track sound bright, dark, warm, or harsh?

Timbre of Sound Sources:

How would you describe the tonal quality of individual instruments or voices?
Do they sound natural or processed?
Does the timbre remain consistent, or does it change over time?

Comparison to Genre Expectations:

How does the timbre of this recording compare to similar recordings in the same genre?
Are there any unique sonic characteristics that stand out?

IV. Sound Balance and Dynamics

Instrumental and Vocal Balance:

Are all elements mixed appropriately, or does anything stand out too much or too little?
Are the relative levels of instruments and voices appropriate for the style?

Dynamic Range:

Is there a noticeable contrast between loud and soft moments?
How does the recording’s dynamic variation contribute to its emotional impact?

Loudness and Perceived Energy:

Does the loudness level feel appropriate for the style of the music?
How does the track’s loudness affect its energy and intensity?

V. Transparency and Clarity

Layering and Separation of Sounds:

Is it easy to hear and distinguish different elements in the mix?
Are any elements masked or buried under others?

Clarity of Individual Sounds:

Do the instruments or vocals sound crisp and well-defined?
Are there any elements that are too sharp or too muddy?

VI. Additional Artistic and Contextual Considerations

Aesthetic and Artistic Impact:

Does the recording sound natural, artificial, or heavily processed?
How does the sound contribute to the artistic intent of the piece?

Performance Energy and Expression:

How would you describe the performers’ intensity and emotional expression?
Does the sonic presentation enhance or diminish the musical performance?

Artifacts and Processing:

Are there any audible effects of compression, equalization, or digital manipulation?
Do any artifacts distract from the listening experience?

VII. Playback System and Listening Environment

Playback Setup:

What system are you using to listen to the recording (headphones, speakers, laptop)?
How might your playback device be altering your perception of the sound?

Listening Environment:

Are there background noises affecting your ability to analyze the recording?
How might the acoustics of your space influence what you hear?

Final Discussion Questions

Based on your analysis, what aspects of this recording are particularly strong?
Are there areas that could be improved? If so, how?
How does the production style influence the overall feel of the track?

Peter Gabriel - In Your Eyes

Mon, 01 Jan 0001 00:00:00 +0000

Analysis of Peter Gabriel’s “In Your Eyes”

Credits

Album: Gabriel, Peter. (1986). So.
Produced by: Daniel Lanois and Peter Gabriel.
Engineered by: Kevin Killen and Daniel Lanois.
Label: The David Geffen Company.

Starting Questions

Daniel Lanois is known for an atmospheric, ambient production style. What sonic choices in this track reflect that aesthetic?
The track blends Western pop songwriting with West African musical elements. How does this cultural fusion shape the sonic character of the recording?
How does the spatial design of the mix evolve to support the song’s emotional arc from intimate verse to expansive outro?

Production Context: Daniel Lanois

Co-producer Daniel Lanois is known for crafting atmospheric, textured recordings — his credits include U2’s The Unforgettable Fire and The Joshua Tree, Bob Dylan’s Oh Mercy, and Emmylou Harris’s Wrecking Ball. His production approach emphasizes ambient textures, effects as compositional elements, and a sense of sonic depth. In “In Your Eyes,” this is audible in the lush synthesizer pads, the chorused piano treatment, and the overall sense of space that envelops the mix.

How does Lanois’s ambient approach differ from a more “transparent” production style? What would this track sound like with a drier, more straightforward mix?

Song Form / Structure

Section	Approximate Time	Key Events
Intro	0:00–0:28	Chorused piano, synth pad, percussion
Verse 1	0:28–1:16	Bass and drums enter; Gabriel’s vocal
Chorus 1	1:16–1:52	“In your eyes” — fuller arrangement, added energy
Verse 2	1:52–2:26	Slightly denser texture than Verse 1
Chorus 2	2:26–3:06	Building intensity
Bridge / Breakdown	3:06–3:50	Textural shift, percussion-driven
Outro (N’Dour)	3:50–end	Youssou N’Dour’s layered vocals over repeating groove

Follow along with this structure as you listen. How does each section build on the previous one? Where do new elements enter, and what is their effect on the overall energy?

Musical Composition and Sound Design

The music starts with a blend of chorused piano sound, synthesizer pad, and percussion, creating a layered soundscape that is both rich and spatially expansive. Attention to the nuanced differences between the higher, shorter chorused piano sounds and the more sustained, quieter synth pad sounds adds depth.

The chorus effect on the piano creates a shimmering, slightly detuned quality. How does this differ from a dry, unprocessed piano sound? What mood does the processing establish from the opening moments?

Percussion and Rhythm

The track includes varied percussion elements. The ability to distinguish between real drum set sounds and synthesized percussion enhances the listening experience. The stereo image is well crafted, with different percussion sounds, including a tabla-like sound on the left (Solo Tabla Magic | Bickram Ghosh | Music of India - YouTube) and tom sounds on the right (Peter Gabriel - In Your Eyes (Secret World Live) - YouTube), creating a broad and immersive soundstage.

Can you identify which percussion sounds are synthetic versus acoustic? How does this blend of electronic and organic percussion affect the track’s character? Consider how the panning of percussion elements widens the stereo image — close your eyes and try to map where each sound lives in the left-right field.

Spectral Balance

The track’s spectral character is warm and mid-focused. The synthesizer pads and chorused piano occupy the mid and upper-mid frequencies, while the low end remains relatively restrained in the intro. As the bass and drums enter, the low-frequency content fills out substantially, giving the track a sense of forward momentum.

Low frequencies (20–250 Hz): The bass guitar provides a solid, compressed foundation. Notice how it sits below the other instruments without overwhelming them.
Midrange (250 Hz–4 kHz): This is where much of the action happens — Gabriel’s vocals, the piano, and many of the percussion elements compete for space here. The mix manages to keep these elements distinct.
High frequencies (4–20 kHz): Relatively subdued compared to a modern pop production. The cymbals and high percussion provide presence without brightness or harshness.

How does the frequency spectrum fill out as more instruments enter the arrangement? Compare the spectral balance of the intro to the full chorus — what frequencies are added?

Bass, Drums, and Vocals

After the initial setup, bass and drums enter, followed by Gabriel’s lead vocal, which is warm yet slightly gritty. The bass line, possibly heavily compressed, lays a solid rhythmic foundation that complements the dynamic range of the track.

Gabriel’s Vocal: The lead vocal has a close-mic’d, intimate quality with relatively little reverb, placing it at the front of the mix. The warmth suggests proximity effect from a cardioid microphone positioned close to the singer. Despite the dense instrumental arrangement, the vocal maintains clarity and presence — likely aided by careful EQ to carve out space in the midrange.

Youssou N’Dour’s Vocal (Outro): N’Dour’s vocal style is strikingly different — more dynamic, melismatic, and wide in its pitch range. His vocals are layered and panned to create spatial width, contrasting with Gabriel’s centered, intimate delivery. The shift from Gabriel to N’Dour represents not only a change in vocal timbre but also a transformation in the spatial impression of the mix.

Compare the two vocal approaches: Gabriel’s restrained, close delivery versus N’Dour’s expansive, ornamented style. How does the mix accommodate each? Consider differences in reverb, panning, and placement in the frequency spectrum.

Spatial Impression and Reverb

The recording creates a strong sense of depth through varied spatial treatments across different elements:

Vocals: Gabriel’s lead vocal is relatively dry with short ambience, placing it at the front of the soundstage. N’Dour’s layered vocals in the outro use more reverb and wider panning, pushing them further back and wider.
Synth pads: These occupy a diffuse, reverberant space that creates the track’s atmospheric backdrop. The long sustain and reverb tail give them a sense of distance.
Percussion: The stereo-panned percussion elements have minimal reverb, keeping them crisp and present despite their wide placement.
Overall depth: The mix achieves a front-to-back depth perspective — dry, intimate vocals up front; crisp percussion at the sides; atmospheric synths creating a reverberant backdrop.

How does the spatial design change between sections? Does the sense of space expand as the arrangement builds? What role does reverb play in distinguishing foreground from background elements?

Dynamic Range

The track demonstrates a clear dynamic arc that mirrors its emotional trajectory:

Intro: Sparse and restrained — low overall amplitude, creating a sense of anticipation.
Verse/Chorus: The entry of bass and drums increases the overall loudness, but the mix maintains dynamic contrast between verse and chorus sections.
Outro: The most dynamically intense section, with N’Dour’s vocals and the full ensemble driving the energy upward.

The compression on the bass and drums helps maintain a consistent rhythmic foundation while allowing the upper layers to provide dynamic variation. Notice how the track avoids the “loudness war” approach — quiet sections are genuinely quieter, allowing the louder passages to feel more impactful.

Listen to the transition from the sparse intro to the full arrangement. How much does the perceived loudness change? Does the dynamic range feel appropriate for the style, or would more or less contrast improve the emotional impact?

Technical Insights and Effects

Distortion and compression play significant roles, adding texture and liveliness to the recording. The strategic use of these effects, starting with the slightly crunchy drum hit at the downbeat, contributes to the track’s unique sonic character.

Is the distortion on the drums an intentional artistic choice or a byproduct of the recording process? How does it differ from unintentional clipping? Consider how 1980s recording technology and analog equipment contributed to the sonic character.

Special Contributions

The piece is further enriched by a solo performance from Senegalese singer Youssou N’Dour at its conclusion, with vocals layered and panned to enhance spatial depth.

Another example of his singing: Youssou N’Dour - Immigres (Live in Athens 1987) - YouTube

Reflections and Questions

Based on your analysis, consider the following:

What specific production decisions contribute to this track’s lasting appeal nearly 40 years after its release? Are there elements that sound dated, and if so, what makes them sound that way?

How does the cultural blending of Western and West African musical elements affect not just the composition but the sonic character of the recording — the timbres, rhythms, and spatial choices?

Using the Guided Listening Framework, which sonic attributes stand out most in this recording? Which are least developed?

If you were to remix this track with modern tools and techniques, what would you change? What would you preserve?

Quiz 0 Answers

Mon, 01 Jan 0001 00:00:00 +0000

First we’ll go through and I’ll tell you which frequencies you’re hearing.

63, 125, 250, 500, 1000, 2000, 4000, 8000, and 16000 Hz

Try this on one loop then the same numbers on a different loop:

16000
1000
2000
250
63
16000
63
16000
125
500

Sheryl Crow - Strong Enough Analysis

Mon, 01 Jan 0001 00:00:00 +0000

Context and Initial Observations

“Strong Enough,” the third track from Sheryl Crow’s album “Tuesday Night Music Club,” stands out for its well-balanced instrumental arrangement. The track requires multiple careful listens to fully appreciate and identify all the layered sounds. Strategic panning of instruments creates a musically and timbrally rich sonic landscape.

Starting Questions

What might the artist or producer have been trying to communicate with these mixing and recording choices?
How do elements of this mix relate to other rock tracks from the same era?
Corey notes that this recording has become a “classic in terms of sound quality.” What specifically contributes to this perception? What does “classic” mean in this context?

Detailed Sonic Analysis

Introduction: The piece opens with an ambient synthesizer pad, followed by two acoustic guitars panned left and right. The guitars create a less crisp auditory image than typical acoustic guitar recordings—you can observe reduced high-frequency content on the spectrogram. For comparison, listen to this acoustic guitar recording.

Why might the high frequencies of the acoustic guitars have been rolled off, and what effect does this have on the track’s overall feel? Is this a stylistic choice or a technical decision?

The guitar strings may be old, and a guitar pickup signal could be blended into the mix. How do the acoustic guitar and pickup signals combine? What are the timbral characteristics of this combined sound—can you distinguish the different elements?

Vocals: Crow’s lead vocals feature a dry and intense sound with little reverb and a bright timbre. The “dry” quality refers to the spatial impression—minimal reverb creates an intimate, close presence. This approach contrasts with other vocal performances that use more reverb, such as:

Instrumental Layers:

12-string guitar: A crisp, clear sound contrasts with the softer tone of the opening acoustic guitars, adding textural complexity. Reference tracks for similar 12-string sounds:
Fretless electric bass: Enters simultaneously with the 12-string, adding depth to the lower frequencies. Note how different this sounds from a typical fretted electric bass or acoustic bass. The smooth, gliding quality is reminiscent of the bass in Paul Simon’s “Graceland”:
Hand percussion: Panned left and right to enhance the stereo image. Listen for distinct sounds in each speaker—one higher and wood-block-like, the other lower and harder to identify.

Chorus and Beyond:

Chorus: Introduces a fairly dry ride cymbal and a high, flute-like Hammond B3 organ sound mixed subtly into the background.
Post-chorus: A pedal steel guitar briefly enters and then fades away before the next verse.
Bridge: Features bright, clear mandolin strums panned left and right. Backing vocals, also panned for stereo width, echo Crow’s lead vocal melody.

Reflections and Questions

What specific mixing decisions contribute to the “well-balanced” nature of the track? How do the individual elements sit within the mix and relate to each other? Consider the frequency and dynamic relationships between components—how does the track maintain coherency despite the variety of instruments involved?

Sound Journals

Mon, 01 Jan 0001 00:00:00 +0000

Course Assignment: Sound Journals

Objective

Conduct a detailed aural analysis of a single commercially available audio production that you admire for its sound quality. This assignment will deepen your understanding of audio engineering principles and enhance your critical listening skills.

Assignment Details

Submission Requirements

Written Analysis:

Compose a three-paragraph analysis focusing on the recording and production aspects of your selected audio piece.

In-Class Presentation:

Two students will present each Tuesday.
Prepare a 15-minute presentation to discuss your analysis.
Bring a representative sound example from your selected piece to play during the presentation.

Purpose of the Assignment

Sharpening your aural skills is crucial for mastering the art of sound production. Through regular analysis of various musical works, genres, and recordings, you’ll learn to notice nuanced differences in instruments, recording environments, microphones, and production techniques. These journals will cultivate a professional understanding and appreciation of audio productions, enhancing your ability to discern and articulate the intricacies of sound.

Assignment Guidelines

Selection of Music Piece

Choose a piece of music that you admire for its production quality.
Limit your discussion to a specific single piece, like a song, rather than an entire album.

Sound Example

Provide a short audio clip (no longer than 30 seconds) that best represents the production quality of your chosen piece.
Format requirement: The audio file must be uncompressed (e.g., WAV, AIFF, FLAC). Do not use MP3 or other lossy compressed formats.
Where to find high-quality audio: Best Stores for Buying Digital Music You Can Keep Forever

Focus of Discussion

Direct your analysis towards recording and production techniques rather than musical elements such as harmony or rhythm.

Background Information

Include essential details about the production in your analysis and presentation:

The recording’s date and location.
Key individuals involved, including the performing musicians, producer, and engineer.

Aural Analysis

Conduct a thorough aural analysis of your chosen piece:

Use the European Broadcast Union’s Assessment methods for the subjective evaluation of the quality of sound programme material – Music as a guide for your analysis.
Refer to Chapter 7 (Analysis of Sound from Electroacoustic Sources) in the Corey textbook for additional guidance.
Address specific aspects of the production: original use of sound parameters, standout production elements, or unique studio production techniques.
Research or speculate creatively about how certain sounds or effects were achieved in the recording.

Presentation Format

Scheduling

Two students will present each Tuesday.

Presentation Guidelines

Keep your presentation under 15 minutes.
Do not prepare slides.
Bring your written analysis and a device to play your sound example.
Begin by playing your sound example and highlighting a particular aspect of the recording for the class to focus on.
Use the sound example to lead into your discussion.

Assessment Criteria

Your assignment will be evaluated based on:

The creativity and detail in your analysis.
Your ability to articulate what you appreciate about the production.
The depth of your conclusions about how certain production qualities were achieved.
The thoroughness of your aural analysis, even if reliable information about the production is limited or unavailable.

Approach this assignment with an inquisitive mind and a keen ear. Combine thorough research with creative speculation to deliver a compelling and insightful analysis.

Spatial Examples

Mon, 01 Jan 0001 00:00:00 +0000

Examples

Here are some more modern examples that illustrate various aspects of spatial illusions in recording that your students might connect with:

Shifting Width & Dynamic Spatial Movement

Bon Iver – “715 - CR∑∑KS” (2016)
- Uses formant-shifted vocals processed with spatial modulation.
- Feels intimate but dynamically shifts in width, creating an immersive, shifting stereo image.

Point Sources & Minimalist Spatial Design

Billie Eilish – “bury a friend” (2019)
- Extremely tight, dry vocals in mono feel like Billie is whispering in your ear.
- Sudden panning shifts and stark contrast between dry and reverbed elements create tension.

Spread Image & Expansive Soundstage

James Blake – “Limit to Your Love” (2010)
- The piano and vocal are super narrow and intimate, then the sub-bass drops in a cavernous stereo reverb.
- This contrast between tight and expansive space enhances the emotional impact.
Tame Impala – “Let It Happen” (2015)
- Psychedelic stereo effects make elements swirl and shift around the listener.
- The use of phasing and stereo delay creates an illusion of motion within the mix.

Surround & 3D-Like Sound Design in Stereo

Björk – “Hidden Place” (2001)
- The vocal sits dead center, while layers of orchestration and electronic textures create a surrounding sound world.
- Spatial reverb and panning create a 3D effect, even in stereo.

More Examples from Production Literature

Dynamic Panning / Stereo Movement

Jimi Hendrix – “Bold as Love” (1967)
- Guitar solo pans dynamically from left to center to right across the stereo field starting around 1:51.
- Source: Yamaha Music – Tracks That Pan Out
Led Zeppelin – “Whole Lotta Love” (1969)
- Around 3:40, Robert Plant’s layered vocals pan side to side, with a second vocal layer also traveling, creating flowing spatial movement.
- Source: Yamaha Music – Tracks That Pan Out
Yes – “Owner of a Lonely Heart” (1983)
- Different reverbs applied to left and right channels of the lead vocal. During the guitar solo, notes fly randomly from speaker to speaker.
- Source: Yamaha Music – Tracks That Pan Out

Binaural / 3D Processing

Adele – “Rolling in the Deep” (2011)
- Producer Paul Epworth used a binaural microphone as an ambient mic to create stereo width.
- Source: Binaural in Music Production
Macy Gray – Stripped (2016)
- Entire album recorded binaurally in a church using a single dummy head, with live recording and no overdubs.
- Source: Binaural in Music Production

Contrasting Reverb / Depth Placement

Ray Lamontagne – “Be Here Now”
- Less reverb on vocal/guitar keeps them close and present; more reverb on piano/strings pushes them into the background, creating clear front-to-back depth.
- Source: Sound On Sound – Creating A Sense Of Depth In Your Mix

Stereo Width / Delay-Based Spatial Effects

Imogen Heap – “Hide and Seek” (2005)
- Waves S1 Stereo Imager for stereo spreading and Super Tap delay for spatial depth. The sparse arrangement maximizes the sense of space.
- Source: Gearspace Forum

Dolby Atmos / Immersive Spatial Audio

Billie Eilish – “Oxytocin” (2021)
- In the Atmos mix, whispering backing vocals fill the height channels and move left and right overhead, creating whispers from all angles.
- Source: What Hi-Fi? – Best Spatial Audio Tracks
Taylor Swift – “All Too Well (10 Minute Version)” (Atmos mix)
- Guitars strumming overhead, backing vocals positioned above and behind in choruses, clearly separated from the centered lead vocal.
- Source: What Hi-Fi? – Best Spatial Audio Tracks

Surround Pioneers

Pink Floyd – The Dark Side of the Moon (1973)
- Pioneered live quadraphonic surround using a custom quad console with dual joysticks, operated by Alan Parsons. Elements placed around a 360-degree field.
- Source: Sound On Sound – Secrets of Pink Floyd’s Quadraphonic PA

Hard Panning / Extreme Stereo Placement

Queen – “Bohemian Rhapsody” (1975)
- In the operatic section, different “characters” occupy specific spatial locations. Mercury, May, and Taylor recorded 10-12 vocal layers per harmony line.
- Source: Production Expert – Inside The Mix